Kailash Kher, one of IndiaâÂÂs most famous Bollywood singers, performed at the Brooklyn Bandshell in Prospect Park on Saturday night, July 25, 2009. The 5-foot-2 inch man rocked the Brooklyn stadium, which was filled with 2,000 listeners who had entered the event for a mere three dollars.
Bollywood is the nickname for IndiaâÂÂs Mumbai-based Hindi-language film industry. Most films produced there are musicals and usually include one or two dance numbers. The dancing is a fusion of classical Indian and Bhangra folk dancing with some western influence.
Colorfully dressed Indian dancers opened the performance. Their bare feet, topped by dozens of silver and gold anklets, hit the stage in an attempt to teach the thrilled Brooklyn audience a traditional Punjabi dance. Most of the Indian listeners leapt out of their seats, ready to join the dancers in perfect rhythm, while other audience members attempted to follow the complicated and mesmerizing moves.
After the dancers gave the audience a lesson, Kher and his eight-member band entered the stage. They were greeted with screams of ecstasy from devoted Indian fans who were overjoyed that the dreamy Bollywood superstar could light up their Brooklyn home. Other audience members cheered as well, including those who had never heard of the artist before.
And then he sang. There was silence, and then a boom of recognition as fans screamed the lyrics and broke out into dance, twirling their hands and ankles, mimicking Bhangra folk dancing.
Kher opened with a seductive song, âÂÂJaana Jogi De Naalâ and heated up the cool summer night with his other hits, including âÂÂTeri Deewani,â âÂÂAllah Ke Bande,â âÂÂSaiyyan,â a new track, âÂÂChaandan Mein,â and a cover of Nusrat Fateh Ali KhanâÂÂs âÂÂTere Bin Nahi Ladga Dil Mehra.âÂÂ
The Indian folk dancing and bright neon lights that splashed over the faces in the audience were not the only reasons why the scene was magical; every audience member, even those who were not Indian, stood and danced, trying to fall into Bollywood step, as they caught on to the enchanting rhythms.
Introducing his songs, Kher (in broken English) sometimes described which Indian God each song celebrated. Before one number, he gestured toward to the audience. âÂÂI have performed over 500 concerts, and I have never seen such dancing without security,â he said in a thick accent. This statement was followed by about thirty seconds of confusion, as non-Indian New Yorkers glanced around and reflected about the significance of relaxed security.
But Kher pointed out something that Brooklynites take for granted: with singing and dancing, the conflicts of the world can be suspended for two hours of magical celebration.